Corey Field Profile

Corey Field practices entertainment, media, copyright and trademark law, representing clients in all areas of the entertainment industry. He is a former president of The Copyright Society of the U.S.A. (New York), the author of the legal practice guide and text book “Entertainment Law: Fundamentals and Practice” published by Cognella Academic Publishing, and an Adjunct Professor at the USC Gould School of Law teaching the courses “Entertainment Law,” “Music Law in Practice,” and “Entertainment Law in Practice.” Corey also serves as Outside Legal Counsel for the Sundance Institute and Sundance Film Festival.

Before becoming an attorney he was an executive in the international music publishing business. A Los Angeles native, he holds a BA in Music from UC Santa Barbara, a PhD in music from the University of York, England, and attended Widener University School of Law while working full time in the music industry on the east coast. He is a member of the California, New York, and Pennsylvania bars.

Opinion, “The Alexandrian Solution to Copyright Reform,” The Daily Journal (Los Angeles and San Francisco) and dailyjournal.com, March 26, 2014

Book review, “Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century,” California Lawyer, January 2014

“Melville Nimmer the Writer: A Review of the 1963 First Edition of Nimmer on Copyright on the Occasion of the Fiftieth Anniversary of its Publication,” Journal of the Copyright Society of the U.S.A., Vol. 60, No. 2, Winter 2013

“Ten Things We Have Learned from Internet Radio, So Far…,” Association of Independent Music Publishers, “Copyright Corner” at www.aimp.org, September 9, 2013

“‘The Symphony of Selling:’ Music Licensing Basics for the Advertising Industry,” Electronic Retailer, December 2004

“Berne Goes to the Movies: Moral Rights Equivalents Come to the Fore in United States Film Industry Litigation,” Copyright World (London), July/August 2003; Entertainment, Publishing and the Arts Handbook, 2004-2005

“The Public Domain Constituency: New Developments in the Copyright Balance of Power,” Copyright World (London), February 2003

“Copyright, Technology, and Time: Perspectives on ‘Interactive’ as a Term of Art in Copyright Law,” Journal of the Copyright Society of the U.S.A. 2003; Entertainment, Publishing and the Arts Handbook, 2003-2004

“Corporations and Copyright in Cyberspace: ‘Hidden’ Internet Regulation and the Corporate Director’s Duty to Monitor – UMG Recordings v. MP3.com Seen from the Perspective of In Re Caremark International Inc. Derivative Litigation,” Delaware Journal of Corporate Law 2002; Entertainment, Publishing and the Arts Handbook, 2003-2004

“Copyright Co-Ownership in Cyberspace: The Digital Merger of Content and Technology in Digital Rights Management and e-commerce,” Entertainment and Sports Lawyer Fall 2001; Entertainment, Publishing and the Arts Handbook, 2002-2003

“Their Master’s Voice? Recording Artists, Bright Lines, and Bowie Bonds: The Debate Over Sound Recordings as Works Made for Hire,” Journal of the Copyright Society of the U.S.A., 2000; Entertainment, Publishing and the Arts Handbook, 2002-2003

Moderator, “Music Industry Boot Camp for Entrepreneurs,” Fox School of Business Innovation and Entrepreneurship Institute, Temple University, April 2007

“Protect Yourself: Copyright Essentials,” Chamber Music America, New York City, April 2007

“Changing the Landscape: The Effect of New Digital Distribution Platforms on the Entertainment Industry” and “Courtroom Drama: Litigating Copyright, Trademark, and Breach of Contract Disputes,” 10th Annual Entertainment and Sports Law Symposium, University of Miami (Florida) School of Law, February 2007

“Exclusive Recording Agreements,” Fifth Annual Entertainment and Sports Law Symposium, University of Miami (Florida) School of Law, April 2002

“Every Composer’s Business: Essentials for Your Career,” American Music Center seminar, Northwestern University Music Department, April 2002

“Corporations and Copyright in Cyberspace,” The Copyright Society of the U.S.A., Philadelphia Chapter, April 2001

Corey Field practices entertainment, media, copyright and trademark law, representing clients in all areas of the entertainment industry. He is a former president of The Copyright Society of the U.S.A. (New York), the author of the legal practice guide and text book “Entertainment Law: Fundamentals and Practice” published by Cognella Academic Publishing, and an Adjunct Professor at the USC Gould School of Law teaching the courses “Entertainment Law,” “Music Law in Practice,” and “Entertainment Law in Practice.” Corey also serves as Outside Legal Counsel for the Sundance Institute and Sundance Film Festival.

Before becoming an attorney he was an executive in the international music publishing business. A Los Angeles native, he holds a BA in Music from UC Santa Barbara, a PhD in music from the University of York, England, and attended Widener University School of Law while working full time in the music industry on the east coast. He is a member of the California, New York, and Pennsylvania bars.

Opinion, “The Alexandrian Solution to Copyright Reform,” The Daily Journal (Los Angeles and San Francisco) and dailyjournal.com, March 26, 2014

Book review, “Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century,” California Lawyer, January 2014

“Melville Nimmer the Writer: A Review of the 1963 First Edition of Nimmer on Copyright on the Occasion of the Fiftieth Anniversary of its Publication,” Journal of the Copyright Society of the U.S.A., Vol. 60, No. 2, Winter 2013

“Ten Things We Have Learned from Internet Radio, So Far…,” Association of Independent Music Publishers, “Copyright Corner” at www.aimp.org, September 9, 2013

“‘The Symphony of Selling:’ Music Licensing Basics for the Advertising Industry,” Electronic Retailer, December 2004

“Berne Goes to the Movies: Moral Rights Equivalents Come to the Fore in United States Film Industry Litigation,” Copyright World (London), July/August 2003; Entertainment, Publishing and the Arts Handbook, 2004-2005

“The Public Domain Constituency: New Developments in the Copyright Balance of Power,” Copyright World (London), February 2003

“Copyright, Technology, and Time: Perspectives on ‘Interactive’ as a Term of Art in Copyright Law,” Journal of the Copyright Society of the U.S.A. 2003; Entertainment, Publishing and the Arts Handbook, 2003-2004

“Corporations and Copyright in Cyberspace: ‘Hidden’ Internet Regulation and the Corporate Director’s Duty to Monitor – UMG Recordings v. MP3.com Seen from the Perspective of In Re Caremark International Inc. Derivative Litigation,” Delaware Journal of Corporate Law 2002; Entertainment, Publishing and the Arts Handbook, 2003-2004

“Copyright Co-Ownership in Cyberspace: The Digital Merger of Content and Technology in Digital Rights Management and e-commerce,” Entertainment and Sports Lawyer Fall 2001; Entertainment, Publishing and the Arts Handbook, 2002-2003

“Their Master’s Voice? Recording Artists, Bright Lines, and Bowie Bonds: The Debate Over Sound Recordings as Works Made for Hire,” Journal of the Copyright Society of the U.S.A., 2000; Entertainment, Publishing and the Arts Handbook, 2002-2003

Moderator, “Music Industry Boot Camp for Entrepreneurs,” Fox School of Business Innovation and Entrepreneurship Institute, Temple University, April 2007

“Protect Yourself: Copyright Essentials,” Chamber Music America, New York City, April 2007

“Changing the Landscape: The Effect of New Digital Distribution Platforms on the Entertainment Industry” and “Courtroom Drama: Litigating Copyright, Trademark, and Breach of Contract Disputes,” 10th Annual Entertainment and Sports Law Symposium, University of Miami (Florida) School of Law, February 2007